“The traditional art media are all defined by a specific material support: canvas, stone, or film. Now, the material support of the medium of the installation is the space itself. That does not mean, however, that the installation is somehow ‘immaterial.’ On the contrary, the installation is material par excellence, since it is spatial – and being in the space is the most general definition of being material.”
Reading Victoria Newhouses` Art and the Power of Placement I came across the following Dorothea Rockburne quote, that immediately reminded me of the initial ideas of Barnes Collection. “Although paintings might have to fight for their life, they look better in a home than in a museum because they`re alive, you feel them; they haven`t been intellectualized and categorized historically.” I truely regret never having experienced the Barnes in its original location and still I am, for the sake of the collection not its presentation, curious to I see it downtown Philadelphia, soon. I do receive Newsletters from both the Friends of the Barnes aswell as the Barnes Foundation, the debate seems to still be vivid although obviously already lost. Today, there are 99 days left untill the Barnes Collection is opened in its new downtown Philadelphia location.
Truth is not the secret of a fewby Lawrence Ferlinghetti
‘Truth is not the secret of a few’ yet you would maybe think so the way some librarians and cultural ambassadors and especially museum directors act
you’d think they had a corner on it the way they walk around shaking their high heads and looking as if they never went to the bath room or anything
But I wouldn’t blame them if I were you They say the Spiritual is best conceived in abstract terms and then too walking around in museums always makes me want to ‘sit down’ I always feel so constipated in those high altitudes
The first research considering my upcoming semester thesis is an architectural exegesis on the question of support that is surprisingly based on Per Hüttners exhibition project I am a curator. It defines support strucure as follwing:
Support Structure is an architectural interface. Support Structure aims to create a space which is continuously reinvented by its users in relation to its context. Support Structure houses artefacts as well as activities and aids reconsideration of existing spaces as an impulse for future change. Support Structure is an evolving collaborative project between architect Celine Condorelli and artist-curator Gavin Wade. Our aim is to design and create a universally adaptable support structure that approaches the specific rather than the generic. To achieve this we are putting Support Structure through a learning process.
THE GAMES WE PLAY is a project run by the edinburgh college of art during the shop from 13th to 16th december 2011. Every student was allocated a playing card with which he was supposed to create a piece of work - I got the 7 of diamonds. Not having any sufficient associations with that card I opened page 7 of the book closest to my desk which appeared to be JAY-Zs Decoded. The pages, in my eyes, most striking line reads:
Id spend free time reading the dictionary, building my vocabulary for battles.
My actual contribution to the project is the above video. Listening to the clean version of one of JAY-Zs best songs and a milestone in the history of rap and hip hop 99 Problems (brilliant music video by Mark Romanek; music produced by the great Rick Rubin) on YouTube, I found my self amazed by how illogical the censorship of especially this song was. Seeing JAY-Z as a young kid gradually adopting a more elaborate vocab on the one hand, this censorship takes the essence of one of his greatest hits within one move.
The video displays all 36 censored cutouts in their chronological order for three times.
Welcome in the market and efficiency driven, liberalized and globalised world. In the year 2011 you can in fact buy Kula necklaces on ebay.
Something like the actual Kula Exchange System, some dynamic and open exchange system of either material or immaterial value, some - however not restricted to any specific culture group and not monopolised but open for participation - communication and exchange concept should really be applied to contemporary art. If no one else does it, then I will.
Within the upcoming year this blog is to present the research and work during my master in contemporary art theory at the edinburgh college of art. It is to demonstrate current dynamics and challenge necessities in curatorial practices and young contemporary art theory and praxis.
In terms of these specifications ALLES FUER DIE KUNST aims to minister to the accessibility and the mediation of contemporary art to everyone.